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These sculpted tents are only a single prim, not including the prim used for the shadow texture
You can't really see it from the screenshot but there's tiny stakes at the four corners of the tent. I'm thinking of adding a second prim for some ropes and additional stakes.
This item is for sale on Flickr's "Print Shop". Choose the "Shopping Cart" icon found at the lower right hand corner of the photo. There are many sizes and materials available.
Here is the total collection of my other prints for sale on Flickr.....
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The Oregon Coast
The single-decker (an Ashok-Leyland, I think) doing rather well by the look of it, but some stiff competition behind in the form of a single- and a double-decker, plus motorbikes, scooters and tuk-tuks.
Sir Mathuradas Vasjani Road, near Airport Road Metro station, Mumbai. Line 1 of the Mumbai Metro is overhead.
(ink illustration by Buck O'Donnell in 1967; public display, World Museum of Mining, Butte, Montana, USA)
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The town of Butte, Montana (pronounced “byoot”) is known as the “Richest Hill on Earth” and "The Mining City". The Butte Mining District has produced gold, silver, copper, molybdenum, manganese, and other metals.
The area's bedrock consists of the Butte Quartz Monzonite (a.k.a. Butte Pluton), which is part of the Boulder Batholith. The Butte Quartz Monzonite ("BQM") formed 76.3 million years ago, during the mid-Campanian Stage in the Late Cretaceous. BQM rocks have been intruded and altered by hydrothermal veins containing valuable metallic minerals - principally sulfides. The copper mineralization has been dated to 62-66 million years ago, during the latest Maastrichtian Stage (latest Cretaceous) and Danian Stage (Early Paleocene). In the supergene enrichment zone of the area, the original sulfide mineralogy has been altered.
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From exhibit signage:
Why do miners drill?
Drilling holes allow explosives to be placed and detonated inside solid rock to break it loose from the world and into pieces.
Iron tools, like hammers, picks, and chisels have been used to mine since the beginning of the Iron Age, about 2000 B.C. There were no explosives, so rock was simply beaten to pieces or wedged apart. Oddly enough, it took over 300 years after the invention of gunpowder before it was used to break rocks. Even then, for may years it was only used in natural cracks and fissures.
The first known use of drilled holes filled with gunpowder to break rock was in Germany in 1613. It was used exclusively for 250 years and continued to be used in coal mining and other special applications well into the 20th Century.
Unbelievably, pure liquid nitroglycerine, one of the most sensitive and unstable explosives known, was used extensively for rock blasting after the American Civil War. Both manufacturing and transportation were extremely hazardous. The slightest impurity or error could cause a batch to explode when the chemicals were combined. It was hauled around in bone-jarring wagons on rough roads. Documented cases tell of wagonloads rolling down mountains without detonating, but others that exploded from an insignificant cause, like a kid throwing a rock.
Alfred Nobel, the creator of the Nobel Prize, invented dynamite in 1868, using an absorbent material to de-sensitize nitroglycerine. He also invented the blasting cap to reliably set it off. The first dynamite plant in the United States was built in San Francisco in 1870, but it did not come into common use for nearly ten years until after the manufacturing and transportation methods were perfected.
Hand Drilling
For 250 years, strong men swinging hammers against the iron drills was the only means of drilling holes in rock. One man drilling alone was called "single-jacking", while teams of two ore more, using heavier hammers, was "double-jacking". It was slow, hard, dangerous work with only oil lamps and candles for light. Buck O'Donnell's drawings show the drillers at work, but the white pages do not convey doing it in smoky, dusty, near-darkness and stifling heat.
[A] granite block [was] a contest stone. Drillers would compete in front of huge crowds for the title and prestige of drilling the deepest hole in fifteen minutes. Butte miners Walter Bradshaw and Mike McNichols hold the world's record for double-jacking, just shy of four feet.
However, two ordinary drillers working 10-12 hour shifts, day after day, year after year, drilled only four to six inches in hard rock during the same 15 minutes. Advancing a mine tunnel four feet took about a thousand inches of drilling, over eight days of constant drilling. Taking advantage of natural fractures was an important skill the best miners learned to cut this time down, but tunnel progress still averaged less than a foot a day.
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Caption accompanying illustration:
SINGLE JACKING
Single jacking on upper holes was tiring on the hand and arm. To lessen the fatigue, old miners used a thong on the hammer handle which permitted the opening and relaxing of the hand on the back stroke.
4/5 November. Single in November for 5 November. This is probably my best shot with the sunset and the street lights lighting up the chimney on the right. Not much processing, mostly sharpening and a crop off the bottom and top.
Strange how the 'UFO' suddenly stops flashing! .....no, my aim is to get the flashing right across the screen but since this is the first time I've tried a photo like this...need to experiment more.
Towing a single van topped-and-tailed by goods brakevans, 'Mucky Duck' 43120 heads along the up goods line north of Carlisle Kingmoor Marshalling Yard on 30 April 1966. This loco was allocated to Carlisle Kingmoor 12A from June 1965 until it was withdrawn in August 1967, but it spent most of its working life at Cricklewood 14A.
I noticed a set of cobwebs at home that must have been spun by a very single minded spider.
I decided to get a quick pic before reaching for the hoover.
This is a time lapse video of a single replacement reaction with copper replacing silver in solution. The video is 38 seconds over a 1hour period. The video was taken with the canon 7d and using a cheap programmable remote.
A single speed 29r build for Scott Magic of Austin, Texas. He wanted the paint to match his Nike shoes. Paint is by Toby of Hot Tubes Paint of Worcester Mass.
Part of The Cover2 Project.
See it on black here: www.lidorwyssocky.com/reloaded/2009/03/29/single-cover-4/
It was the year 1979 when LEGO launched one of the sets that became among the most iconic in the AFOL world: the 928 set.
The Classic Space theme was launched just a year earlier in 1978 and this set became a legend because it represented the most beautiful and largest spaceship in the entire fleet. It is incredible to think of the success that this set of only 338 pieces has had if we compare it to those on sale today, but in those days we were children who dreamed of having this box and our best memories are linked to it.
In '79 I was just 5 years old and I have never been able to have this box, too expensive for my parents, but I have always dreamed of it looking at it in the catalogs. Finally as an adult I looked for it and managed to buy it!
All this premise was used to introduce my new work: the Galaxy Explorer SDR-926! This year I am 10 years old as AFOL and I thought about making mocs that have a special meaning for me. The first of these was the desire to make a spaceship of some importance! SDR-926 wants to be a tribute to the 928 but with very different characteristics and numbers. Number 926 represents the birth of my daughter. The spaceship measures 85 x 75 x 21 cm and is made up of almost 4600 pieces! It took me 5 intense months to make it because it contains several features and functionalities in a single work.
Thank you for watching!
Video presentation here:
Single-Finned Lophius
This depressed blackish lophius
is the last thing in the box, awash
and pickled in a thick glass bottle,
slopping wanly, somehow forlorn
of expression. Dubious lophius,
inflated like bellows, suspended
in perpetual death-throes. Nodder,
let us have lateral, ventral and
dorsal perspectives upon it,
depicted size-of-nature. We’ll make
two foldout plates for our sixth
volume. Oh, and mix a little
pink for where the mouth hangs
open; that fish-white is far too
corpselike for our subscribers.
Here – there’s a note. “Found
washed-up, somewhat odorous,
snagged in kelp.” Numerous
teeth, tiny sharp. Nevertheless,
the whole thing suggests
something foetal. Hurry up.
Ah – look! The next chest is better:
a falcon skin from Carolina. Lend
me one of your lice. With some
magnification, that will pad out
this volume nicely, along with
the grey baboon, medicinal leech,
Fasciculated Ascdia, Peruvian
Jay, Lumbriciform Lizard and
that little Pyramidal Clio from
the American Ocean. I’ll get
Smith to shoot a Grey Wagtail
for good measure. Enough,
Nodder, I think we can say that
the depressed Lophius
is well
and truly
painted.
Poem by Giles Watson, s014. Picture: NM, Volume 6. Shaw was deeply confused by this specimen, tentatively concluding that it was a species of Monkfish or Anglerfish, but theorising that it could be “the foetus of any of the Trichechi” – apparently a reference to the Walrus. It was not until 1940 that Gilbert Percy Whitley correctly identified Shaw’s “Lophius” as a Coffin Ray (Hypnos monopterygius), a species of electric ray which is quite common in Australian inshore waters. The ray had by that stage already been described by the French zoologist Auguste Duméril in 1852. Once they have been stranded, the bodies of coffin-rays rapidly become bloated; this was clearly what threw Shaw so far off course. See Brian Saunders, Discovery of Australia's Fishes: A History of Australian Ichthyology to 1930, CSIRO, 2012, p. 14.
I took this picture when i went to sentosa aquarium in Singapore.
the Jelly fish was lit with many colors inside the water tank, those colors were distracting , so i changed it to black and white and here is the output.
all the white dots you see in the image are not ISO noise, they are small creatures that are in that water, darkened the edges a bit.
Pulled fabrics for my Single Girl quilt today!
Still have to decide on the background color! It's going to be a small wall hanging so I may end up using white. Or pull a color from this stack! :)
A pink chrysanthemum and lots of light.
(Another shot from my archives. Last night was a practical night at Camera Club, so now I have even more images to get through ,,, I seriously need a few days with just me and the computer, but with a teenager's birthday party to prepare for, it's not going to be this week!)
The Korumburra Railway Station complex was constructed in what was subsequently christened, Station Street, by G. Vincent in 1907 on the Melbourne-Port Albert Line for the Victorian Railways.
Designed by architect Charles Norman, the complex comprises of a large predominantly single storey brick station building with an upper level residence. The grand red brick Federation Queen Anne style building features stuccoed banding, terra cotta tiled hip and gable roof with ridge cresting, dormer windows, cantilevered platform verandah and a pedimented entrance to the lobby. No expense was spared on the décor inside the railway station’s public rooms which feature elegant fireplaces in the restaurant, waiting rooms and railway master’s office and waiting room. All these rooms also feature Art Nouveau pressed metal detailing inlaid into the wood panels around the dados. A wooden fire surround can be found in the station master’s waiting room, whilst grander ones featuring mirrors and pressed metal panels may be found in the railway restaurant and waiting room. It is however the ceilings of these rooms which are perhaps their most breathtaking feature. Vaulted and arched, all are completed using Art Nouveau pressed metal and the light well in the restaurant is complimented with its original mirrors to help make the room more light filled. All the interiors have been lovingly restored from years of neglect by a small but dedicated group of local historical and railway enthusiasts. Several false ceilings installed in the 1960s and 1970s to lower heating costs revealed these magnificent features. Other structures in the complex include the corrugated iron clad goods shed, the brick pedestrian subway and the up side building.
The Korumburra Railway Station complex is historically significant as an important element of the Great Southern Railway and for its role as a marshalling point for goods trains that faced steep descents in both directions, as the junction for lines from local coal mines and as the starting point for other branch services. In a local sense, it demonstrates the early significance of Korumburra that, at the time, was the largest and most important town in the Shire of Gippsland. Aesthetically, it is the most outstanding station building and the largest complex in the Shire and demonstrates the importance of Korumburra as the major station on the South Eastern Railway. It is a significant and a rare example of a station building in Federation Queen Anne style. Socially, it played an important role in the development of the Korumburra community and is an important part of the identity of the town. The Korumburra Railway Station complex is also included on the Victorian Heritage Register.
Korumburra is a medium-sized dairy and farming town in country Victoria, located on the South Gippsland Highway, 120 kilometres south-east of Melbourne. Surrounded by rolling green hills, the town has a population of a little over 4,000 people. Korumburra has built itself on coal mining (after the discovery of a coal seam in 1870), local forestry and dairy farming. Whilst the coal seam has been used up, farming in the area still thrives and a great deal of dairy produce is created from the area. The post office in the area opened on the 1st of September in 1884, and moved to the township on the railway survey line on the 1st of November 1889, the existing office being renamed Glentress. The steam railway connecting it with Melbourne arrived in 1891. Whilst the train line has long since operating commercially, it has found a new life as the popular tourist railway the South Gippsland Railway which operates a heritage railway service between the major country centre of Leongatha and the small market town of Nyora.
when i got this bike about 5 years ago, it had matching green fenders, cottered cranks, those 70s rubber-block type pedals, crappy wheels, and it was in mint condtion, basically a 'new old stock' bike. it looked like it could have been a prize on The Price is Right. FF to 2008–i've beat it up so much and worn out nearly every original part, i thought i would just give it away.
yesterday i finally gave it some needed mechanical attention, and made it a single-speed/fixed gear bike. now, i can't get off the thing. the frame is too small for me, but whatevers...so much fun!
UPDATE June '09: This Bike is For Sale. Get in now!
In the dunes of Oostduinkerke-Bad on the Belgian coast, architect Koen Steenkiste built a house that immediately evokes the image of a boat. This resemblance was not deliberate but sprang from the irregular shape of the building plot. The location against the side of the dune also offered the opportunity of constructing a cellar with a garage.
Project: Single-family house in the dunes, Oostduinkerke-Bad (Belgium)
Client: Owner and occupier
Architect: Koen Steenkiste, Koksijde
Roofing contractor: Dakwerken Dewulf-Treve, Merkem
Clay roof tiles: Pottelberg Plain Tile 301 smooth, braised blue
Photos: Peter Verplancke
Read more on architectum.com/en/sandcastle-moored-in-the-dunes/
To my great surprise the light continued to hold up, but unfortunately not quite long enough to catch this oddball Amtrak under the sun! Eastbound California Zephyr with a single unit, I guess they can get away with that on the flat midwestern terrain.
Downers Grove IL / Main St
AMTK e/b California Zephyr – Train 6
AMTK 75 P42DC.
Seven Sons 10 year old Single malt scotch whisky produced for the recently established 8 Doors Distillery at John O'Groats, their own product not being aged long enough yet. Not a bad drop but definitely looking forward to trying one of their own product in the next few years!!
So this was my first single girl quilt. I just finished machine quilting #2, it's in the wash now. And #3 is a completed top. Since I machine quilted 1 and 2 I'm thinking of hand quilting #3 with the enclosed pattern. I really don't have the patience to hand quilt. I love the way it looks but I'm a single mom and I have at least 3 sewing projects going on at a time. As I'm hand quilting I'm thinking of all the other machine piecing I could be doing in that time period. Like I said, I need to work on the patience. I love the HST border on this one. I had swapped someone for their HST because she couldn't use them. I still have a bunch left after making a ton of things with them. I'm hoarding them for some unknown project yet to come. I just love the KJR and so happy with how this quilt turned out. The arcs and piecing wasn't as hard as I thought it would be and now I'm whipping up this pattern like it's going out of style. I love how I can use a 1/4 yard of fabric and also use my scraps. Plus I pin a lot of pieces while I'm waiting to pick my son up from school or watching a soccer game or over the summer I plan on doing it while at the pool.
If I had a single flower for every time I think about you, I could walk forever in my garden. ~Attributed to Claudia Ghandi
Description
William Smith, 1870. Simple single-storey mission hall situated at centre of Footdee's North Square. Coursed, roughly squared and snecked rubble with raised brick dressings and round-arched openings. W elevation: 4 round-arched windows with raised cills and brick voussoirs; above, central circular window. Brick bellcote incorporating chimney at apex. Single-storey lean-to runs length of E elevation. 2-leaf round-arched doors to far left and right of S elevation.
Fixed-pane glazing. Grey slate with large rooflights to lower pitch. Ashlar skews. Cast-iron rainwater goods.
North Square Mission Hall occupies the central area of the North Square, reflecting its significance as an integral part of village life. The building is plain, with simple detailing throughout, and as such, responds sympathetically to its setting and context. Known locally as 'the schoolie' the hall was built for general as well as religious purposes and continues to operate as a multi-purpose meeting space.
The entire Footdee village was added to the statutory list in 1967 as a single entity. The village was subsequently given Conservation Area status in 1968. At resurvey in 2006, each building within the Conservation Area was re-assessed separately. Key examples, demonstrating both individual architectural interest and representing the history and development of the village as a whole, were selected for listing.
Footdee is a particularly interesting example of a planned housing development purpose-built to re-house Aberdeen's local fishing community. Laid out in 1809 by John Smith, then Superintendent Of The Town's Public Works. Smith went on to establish himself as one of Aberdeen's key architects. Occupying an isolated spit of land to the SE of Aberdeen's city centre, its regimented squares have been described as 'a cross between the neo-classical aspirations of Aberdeen and the close-knit fishing communities of the north-east'.
The two squares of Footdee originally contained 28 single-storey thatched houses although this increased when the later Middle Row (circa 1837) and Pilot Square (circa 1855) were added. The entrances on each of the North and South squares were filled in the 1870's by William Smith (son of John and architect of Balmoral Castle). He also added additional storeys to the East and West sides of South Square creating a tenement feel.
This was an attempt to ease crowding resulting from an influx of fishing families from other less prosperous areas and to help try to enforce the 'one-house-one-family' rule.
The Town Council decided to start selling the dwellings to occupiers in 1880, beginning a period of incremental development and reconstruction. Additional storeys and dormers were added piecemeal by the new owners as funds allowed. The result is one of individuality expressed within the constraints of a strictly formal plan and is a contributing factor to the special architectural and historical interest of Footdee as a whole.
Throughout the 19th century, 'tarry sheds' were added to the communal land within the squares opposite each dwelling and now every dwelling has its own shed. Originally constructed from drift wood and other found materials, the sheds have been built and rebuilt in an idiosyncratic manner over the years in a variety of materials with rendered brick now predominating slightly (2006). Some timber built sheds remain, predominantly on the North side of North Square.
Referred to locally and historically as 'Fittie', the derivation of which remains uncertain although a number of suggestions have been put forward. The Church of St Fittick is situated half a mile away to the south. 'Footdee' is a more recent and literal Anglicisation, derived from its proximity to the mouth of the River Dee.
Category changed from B to C(S), 2007.